Download Festival Announces Next Acts for 2018
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Avenged Sevenfold Announced As Second Headliner for Download Festival 2018
UNDER STRICT EMBARGO UNTIL 9AM 08.11.17 #DL2018 8-10 JUNE 2018 AVENGED SEVENFOLD ANNOUNCED AS SECOND HEADLINER FOR DOWNLOAD FESTIVAL 2018 CHART TOPPING HARD ROCK BAND AVENGED SEVENFOLD RETURN TO THE UK’S PREMIER ROCK EVENT TO HEADLINE ALONGSIDE OZZY OSBOURNE Download Festival, the world’s premier rock event, has today announced the second of its three headliners as one of the world’s biggest rock bands Avenged Sevenfold. The three-day festival takes place 8 – 10 June 2018 at the spiritual home of rock in Donington Park, Leicestershire. Tickets available now at downloadfestival.co.uk/tickets. Avenged Sevenfold will return to Download Festival once more, to give a momentous Friday night headline performance that will be talked about for years to come. This announcement comes days after it was revealed that the Prince Of Darkness Ozzy Osbourne will also be headlining. From the genre-defining metal-core album City Of Evil, the hard rock UK No.1 Hail To The King, through to the latest progressive-metal sounds of The Stage; Avenged Sevenfold have an epic history of modern metal classics, a stage show to make Rammstein jealous and a proven track record of smashing anything that comes their way. Download Festival’s Promoter, Andy Copping said: “A real career highlight of mine was giving Avenged Sevenfold their first ever UK festival headline slot, and I’m thrilled to welcome them back. You don’t often see bands like Avenged Sevenfold top the charts, but much like seeing them live, they’re not to be underestimated.” Download Festival is the home of rock music and takes place on the sacred grounds of Donington Park, which have been associated with rock since the eighties. -
List of Available Videos
Artist Concert 3 Doors Down Live at the Download Festival 3 Doors Down Live At The Tabernacle 2014 30 Odd Foot Of Grunts Live at Soundstage 30 Seconds To Mars Live At Download Festival 2013 5 Seconds of Summer How Did We End Up Here? 6ft Hick Notes from the Underground A House Live on Stage A Thousand Horses Real Live Performances ABBA Arrival: The Ultimate Critical Review ABBA The Gold Singles Above And Beyond Acoustic AC/DC AC/DC - No Bull AC/DC In Performance AC/DC Live At River Plate\t AC/DC Live at the Circus Krone Acid Angels 101 A Concert - Band in Seattle Acid Angels And Big Sur 101 Episode - Band in Seattle Adam Jensen Live at Kiss FM Boston Adam Lambert Glam Nation Live Aerosmith Rock for the Rising Sun Aerosmith Videobiography After The Fire Live at the Greenbelt Against Me! Live at the Key Club: West Hollywood Aiden From Hell with Love Air Eating Sleeping Waiting and Playing Air Supply Air Supply Live in Toronto Air Supply Live in Hong Kong Akhenaton Live Aux Docks Des Sud Al Green Everything's Going To Be Alright Alabama and Friends Live at the Ryman Alain Souchon J'veux Du Live Part 2 Alanis Morissette Guitar Center Sessions Alanis Morissette Live at Montreux 2012 Alanis Morissette Live at Soundstage Albert Collins Live at Montreux Alberta Cross Live At The ATO Cabin Alejandro Fernández Confidencias Reales Alejandro Sanz El Alma al Aire en Concierto Ali Campbell Live at the Shepherds Bush Empire Alice Cooper AVO Session Alice Cooper Brutally Live Alice Cooper Good To See You Again Alice Cooper Live at Montreux Alice Cooper -
Integration Des Chaos : Marilyn Manson, Männlichkeit, Lust Und Scheitern L'amour Lalove, Patsy 2017
Repositorium für die Geschlechterforschung Integration des Chaos : Marilyn Manson, Männlichkeit, Lust und Scheitern l'Amour laLove, Patsy 2017 https://doi.org/10.25595/398 Eingereichte Version / submitted version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: l'Amour laLove, Patsy: Integration des Chaos : Marilyn Manson, Männlichkeit, Lust und Scheitern, in: Nagelschmidt, Ilse; Borrego, Britta; Majewski, Daria; König, Lisa (Hrsg.): Geschlechtersemantiken und Passing be- und hinterfragen (Frankfurt am Main: PL Academic Research, 2017), 169-194. DOI: https://doi.org/10.25595/398. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY 4.0 Lizenz (Namensnennung) This document is made available under a CC BY 4.0 License zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz finden (Attribution). For more information see: Sie hier: https://creativecommons.org/licenses/by/4.0/deed.en https://creativecommons.org/licenses/by/4.0/deed.de www.genderopen.de Integration des Chaos – Marilyn Manson, Männlichkeit, Lust und Scheitern Patsy l'Amour laLove Marilyn Manson as a public figure represents exemplarily aspects of goth subculture: Aspects of life that shall be denied as not belonging to a fulfilled and happy life from a normative point of view are being integrated in a way that is marked by pleasure. Patsy l‘Amour laLove uses psychoanalytic approaches to the integration of chaos, of pain and failure in Manson‘s recent works. „This will hurt you worse than me: I'm weak, seven days a week ...“ Marilyn Manson1 FOTO © by Max Kohr: Marilyn Manson & Rammstein bei der Echo-Verleihung 2012 Für Fabienne. Marilyn Manson verwirft in seinem Werk die Normalität, um sich im gleichen Moment schmerzlich danach zu sehnen und schließlich den Wunsch nach Anpassung wieder wütend und lustvoll zu verwerfen. -
2013 Full Line Catalog 2013
Electric Guitars, Electric Basses, Acoustic Guitars, Amplifiers, Effects & Accessories 2013 Accessories Effects & Amplifiers, Guitars, Electric Acoustic Electric Basses, Guitars, www.ibanez.com 1726 Winchester Road, Bensalem, PA 19020 · U.S.A. · ©2012 Printed in Japan NOV12928 (U) For Authorized Dealers Only - All finishes shown are as close as four-color printing allows. CATALOG - All specifications and prices are subject to change without notice. 2013 FULL LINE Table of Contents Solid Body Electric Guitars Signature Models 6-10 Iron Label RG/S 11-13 RG/GRG/GRX/MIKRO 13-26 RGA 26 RGD 27 S 28-31 X 32-33 FR 33 ARZ 34 AR 34-35 ART 35-36 Jumpstart 37 Hollow Body Electric Guitars Signature Models 40-41 Artstar 41 Artcore Expressionist 42-44 Artcore 44-47 Electric Basses Signature Models 50-51 SR 51-61 Grooveline 62-63 BTB 64-65 ATK 66-67 Artcore 67-68 GSR/MIKRO 68-73 Jumpstart 73 Acoustic Guitars Signature Models 76 Artwood 77-81 PF 82-85 SAGE 85 AEG 86 AEL 87 AEF 88-89 EW 90-91 Talman 91-92 AEB 92 SAGE Bass 93 Classical 93-95 Ukulele 95-96 Banjo 96 Resonator 96 Mandolin 97 Jampack 98 Amplifiers/Effects/Accessories Tube Screamer Amplifier 100-101 Wholetone 101 Promethean 102-103 Sound Wave 103 Troubadour 104-105 IBZ 105 Tube Screamer 106 9 Series 107 Echo Shifter 108 Signature Effect Pedal 109 Wah Pedals 109 Tuners 110 Cables & Adapter 110 Stand 111 Tremolo Arm 111 Picks 111 Cases/Straps 112 Bags/Microphone Stand 113 02 for more information visit www.Ibanez.com for more information visit www.Ibanez.com 03 04 for more information visit www.Ibanez.com -
Organization of a Large Scale Music Event: Planning and Production
Organization of a large scale music event: planning and production Tatiana Caciur Thesis MUBBA 2012 Abstract 17.1.2012 MUBBA Author or authors Group or year of Tatiana Caciur entry 2008 Title of report Number of Organization of a large scale music event: planning and pages and production. appendices 54 + 4 Teacher/s or supervisor/s Heta-Liisa Malkavaara Live entertainment is currently one of the few vital components of the music industry as it struggles to survive in the XXI century and conform to the drastic changes on the music market. Music events occur in great amount on a daily basis and it is important to plan and produce them in the right manner in order to stay relevant and secure one‟s place on the market. This report introduces various crucial matters that require attention during event organization process, such as marketing and strategic planning, communication and promotion, risk management, event programming and capacity management, to name a few. The 5-phase project management model is applied as the base on which this thesis is built. The research is conducted by comparing the theoretical and practical approach used in the music event business. The practical approach is based on examinations and interviews with the world market leader in live entertainment – Live Nation. An additional analysis of practices used in other large and successful music events in Europe and USA is also conducted. As this thesis shows, the practical approach is often easier and less rigorous than the theory. Some of the steps in this process may be simply omitted due to being considered of little relevance by the management team, many other are outsourced to professional agencies depending on requirements (security, catering). -
Pure Magazine
PURE MAGAZINOctobeEr 2017 Jack O’Rourke Talks Music, Electric Picnic, Father John Misty and more… The Evolution Of A Modern Gentleman Jimmy Star chats with Hollywood actor... Sean Kanan Sony’s VR capabilities establishes them as serious contenders in the Virtual Reality headset war! Eli Lieb Talks Music, Creating & Happiness… Featured Artist Dionne Warwick Marilyn Manson Cheap Trick Otherkin Eileen Shapiro chats with award winning artist Emma Langford about her Debut + much more EalbumM, tour neMws plus mAore - T urLn to pAage 16 >N> GFORD @PureMzine Pure M Magazine ISSUE 22 Mesmerising WWW.PUREMZINE.COM forty seven Editor in Chief Trevor Padraig [email protected] and a half Editorial Paddy Dunne [email protected] minutes... Sarah Swinburne [email protected] Shane O’ Rielly [email protected] Marilyn Manson Heaven Upside Down Contributors Dave Simpson Eileen Shapiro Jimmy Star Garrett Browne lt-rock icon Marilyn Manson is back “Say10” showcases a captivatingly creepy Danielle Holian brandishing a brand new album coalescence of hauntingly hushed verses and Simone Smith entitled Heaven Upside Down. fantastically fierce choruses next as it Irvin Gamede ATackling themes such as sex, romance, saunters unsettlingly towards the violence and politics, the highly-anticipated comparatively cool and catchy “Kill4Me”. Front Cover - Ken Coleman sequel to 2015’s The Pale Emperor features This is succeeded by the seductively ten typically tumultuous tracks for fans to psychedelic “Saturnalia”, the dreamy yet www.artofkencoleman.com feast upon. energetic delivery of which ensures it stays It’s introduced through the sinister static entrancing until “Je$u$ Cri$i$” arrives to of “Revelation #12” before a brilliantly rivet with its raucous refrain and rebellious bracing riff begins to blare out beneath a instrumentation. -
MM + NK = WM, Czyli Dlaczego Marilyn Manson Zakochałby Się W Nadkobiecie
Alicja Bemben Akademia Techniczno ‑Humanistyczna Katedra Anglistyki MM + NK = WM, czyli dlaczego Marilyn Manson zakochałby się w nadkobiecie Ale kiedyś, w czasach lepszych niż obecny rozkład, poja‑ wi się on, zbawiciel, człowiek wielkiej miłości i pogardy, stwórca, którego nieodparta siła nie pozwoli mu pozostać bezczynnym, którego samotność ludzie mylnie postrze‑ gają jako ucieczkę od rzeczywistości – podczas gdy jest to tylko jego sposób poznawania i przyjmowania rzeczy‑ wistości, tak więc, kiedy pewnego dnia znów się pojawi, przyniesie im wybawienie, ocali świat od przekleństwa idei panującej dotychczas. Człowiek przyszłości, który wybawi nas nie tylko od dotychczasowej idei, ale tak‑ że tego co musi z niej wyniknąć, wielkiego niesmaku, nihilizmu, samounicestwienia; on będzie niczym bicie dzwonów w południe, uwolni nasze umysły, przywróci światu cel, a człowiekowi nadzieję; ten Antychryst i an‑ tynihilista; zwycięzca Boga i nicości – pewnego dnia musi nadejść1. U schyłku XIX wieku przytoczone słowa stanowiły podsumowanie zapa‑ trywań Fryderyka Nietzschego na intelektualno ‑ideologiczny klimat panu‑ jący w ówczesnej Europie. U progu XXI wieku słowa te posłużyły Marily‑ nowi Mansonowi jako cytat otwierający jego (auto)biografię2. Jak dość łatwo 1 F. Nietzsche: Z genealogii moralności – cyt. za: M. Manson, N. Strauss: Trudna droga z piekła. [Tłum. M. Mejs]. Poznań: Kagra, 2000, s. [7]. 2 Do tej pory twórczość Mansona trzykrotnie została przedmiotem filozoficznych lub okołofilozoficznych rozważań. Zob. R. Wright: „I’d Sell You Suicide”. Pop Music and Moral Panic in the Age of Marilyn Manson. „Popular Music” 2000, vol. 19, no. 3, s. 365–385; P. Sme‑ yers, B. Lambeir: Carpe Diem. Tales of Desire and the Unexpected. „Journal of Philosophy of Education” 2002, no. -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal). -
Bio.Inthismomentritu
Throughout history, art rejoices and revels in the wisdom of women. Within a deck of tarot cards, the High Priestess serves as the guardian of the unconscious. In Greek mythology, the old oracles celebrate the Mother Goddess. William Shakespeare posited portentous prescience in the form of MacBeth’s “Three Witches.” On their sixth full-length album Ritual, In This Moment—Maria Brink [vocals, piano], Chris Howorth [lead guitar], Travis Johnson [bass], Randy Weitzel [rhythm guitar], and Kent Diimel [drums]—unearth a furious and focused feminine fire from a cauldron of jagged heavy metal, hypnotic alternative, and smoky voodoo blues. It’s an evolution. It’s a statement. It’s In This Moment 2017… “It’s like we’re going into the next realm,” asserts Maria. “I had a conviction of feeling empowered in my life and with myself. I always write from a personal place, and I needed to share that sense of strength. I’ve never been afraid to hold back. Sometimes, I can be very suggestive. However, I wanted to show our fans that this is the most powerful side of myself and it’s without overt sexuality. It’s that deeper serious fire inside of my heart.” “What Maria is saying comes from deep inside,” Chris affirms. “This time, we had a bunch of ideas started before we hit the studio. There was a really clear direction. It’s different.” The group spent two years supporting their biggest album yet 2014’s Black Widow. Upon release, it seized their highest position to date on the Billboard Top 200, bowing at #8. -
Conditional Self-Attention for Query-Based Summarization
Conditional Self-Attention for Query-based Summarization Yujia Xie ∗ Tianyi Zhou Yi Mao Weizhu Chen Georgia Tech University of Washington Microsoft Microsoft [email protected] [email protected] [email protected] [email protected] Abstract element’s context-aware embedding is then com- puted by weighted averaging of other elements Self-attention mechanisms have achieved with the probabilities. Hence, self-attention is great success on a variety of NLP tasks due powerful for encoding pairwise relationship into to its flexibility of capturing dependency contextual representations. between arbitrary positions in a sequence. For problems such as query-based summarization However, higher-level language understanding (Qsumm) and knowledge graph reasoning often relies on more complicated dependencies where each input sequence is associated with than the pairwise one. One example is the con- an extra query, explicitly modeling such ditional dependency that measures how two ele- conditional contextual dependencies can lead ments are related given a premise. In NLP tasks to a more accurate solution, which however such as query-based summarization and knowl- cannot be captured by existing self-attention edge graph reasoning where inputs are equipped mechanisms. In this paper, we propose condi- with extra queries or entities, knowing the depen- tional self-attention (CSA), a neural network module designed for conditional dependency dencies conditioned on the given query or entity is modeling. CSA works by adjusting the extremely helpful for extracting meaningful rep- pairwise attention between input tokens in a resentations. Moreover, conditional dependencies self-attention module with the matching score can be used to build a large relational graph cov- of the inputs to the given query. -
Bullet for My Valentine to Return to U.S. in May in Support of New Album Venom
BULLET FOR MY VALENTINE TO RETURN TO U.S. IN MAY IN SUPPORT OF NEW ALBUM VENOM (Download Hi-Res Artwork Here) NEW ALBUM, VENOM, OUT NOW ON RCA RECORDS (New York – February 29, 2016) UK metal band Bullet For My Valentine will return to the U.S. for a second invasion in May in support of their recently released album, VENOM. Special guests will include Asking Alexandria and Cane Hill on select dates. The tour will start in Jacksonville, FL on April 30th at Welcome To Rockville festival and will wrap up in San Antonio on May 29th at River City Rockfest. “Attention Army of Noise U.S.! We haven't even left your country yet, but we're super excited to announce that we're coming back to the U.S this May for another run of shows on our Venom World Tour 15/16. We're gonna be hitting a ton of places we couldn't get to this time around so make sure you get yourself our new BFMV App to check and see if we’re coming to a town near you. Thank you and we'll see you all very soon.” – Matt Tuck Bullet For My Valentine Fan Club and VIP pre-sale ticketing will start on Tuesday, March 1st at 10:00AM (local time) and general on sale tickets will be available on March 4th at 10:00AM (local time) at http://www.bulletformyvalentine.com/live/. Fan Club pre-sale tickets will be available exclusively through Bullet For My Valentine’s new App, which is available for download for Android and iOS now at http://bulletformyvalentine.com/app.